SIMLA, ENGLISH SCHOOLBiblio.com
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réf. MC69Watercolour and pencil ca. 51x34 cm 20x13 ¼ in. The painting is on the artist’s original wash-line mount on the thicker Whatman paper and in a recent matting. Unsigned. There are some areas of browning on the upper part of the painting otherwise a very good watercolour. The watercolour shows a mountainous landscape with gorgeous snowy peaks occupying the upper part of the view and with a serpentine road and men wearing Indian native dress in the foreground. Most likely an area near Simla Shimla a favourite summer refuge for the British in India in the 19th century and the official summer capital of British Raj from 1864. Located in the north-west Himalayas at an average altitude of 2250 m 7234 ft Simla was the star of the hill stations - mountainous resorts providing relief to British society from the heat and disease of the plains. "The Himalayan resorts were at an average altitude of six thousand feet and offered magnificent views of range after range of jagged snowy peaks. This region became a venue for leisure activities and the towns in the hills rapidly acquired the character of English villages " British library. Drawings of hill stations’ mountainous landscapes quickly became a popular pastime for professional and amateur artists: "These places appeared as a Garden of Eden to the British. Here they found relief from the poverty disease dirt and heat of the Plains. For both men and women holidays in the Hills gave them unbroken leisure to sit and sketch with worries set aside among scenes anglicised to look like home. Simla in particular was apprehended as a place of a grander less-tamed nature with dark woods and conifers set against a staggering backcloth of stupendous peaks " Archer M. R. Lightbown. India Observed: India as viewed by British Artists 1760-1860. London 1982. hardcover
réf. 13282[Nancy], 1877 - 1879. 1 vol. in-folio. Demi-veau vert, titre et date en palladium sur les premier plat, planches montées sur onglets.
1952Acquaforte,1952. Lastra mm. 148x82. Firma a matita in basso a destra Luigi Bartolini. Dedica a matita in basso “Auguri per il 1954”. Tiratura a 20 esemplari, inserita nelle copie di testa del libro Ombre fra le metope, Schwarz Editore 1953, stampato da Luigi Maestri, Milano. Luigi Bartolini è considerato uno dei maggiori incisori italiani del Novecento, insieme a Giorgio Morandi e Giuseppe Viviani. Oltre ad essere un prolifico incisore (al suo attivo oltre mille acqueforti), fu anche pittore e scrittore. Partecipò sia come pittore che come incisore a diverse edizioni della Biennale di Venezia dal 1928 al 1962. Presente a varie manifestazioni artistiche, sviluppò diverse maniere definite: ‘maniera bionda’, ‘lineare’ e ‘nera’. Ricordiamo soprattutto le acqueforti della serie Marche e della serie Sicilia. Iniziò la sua produzione grafica nel 1914 e il suo stile si rifà alla tradizione naturalistica dell’Ottocento. Molte sue incisioni si possono ricollegare ad alcune opere del Goya, di Telemaco Signorini e di Giovanni Fattori. Eccellente nella rappresentazione della natura morta e del paesaggio, spesso il Bartolini rappresentò dolcemente le cose e gli oggetti più umili, i soggetti di natura più dimessi. In essi ritroviamo il sentimento che diviene immagine e la forma che si sviluppa in espressione. Con Bartolini l’incisione torna ad essere un mezzo di espressione poetica libera dal simbolismo e dal vedutismo allora in voga presso le accademie. Nelle sue acqueforti prevale ora un tratteggio leggero (genere biondo), ora una ricerca del chiaroscuro alla Rembrandt (genere nero). Bibliografia https://www.luigibartolini.com/gli_amanti_crucciati_74.html Etching,1952. Plate mm. 148x82. Signature in pencil at lower right Luigi Bartolini. Dedication in pencil at the bottom "Auguri per il 1954". Limited edition of 20 copies, inserted in the leading copies of the book Ombre fra le metope, Schwarz Editore 1953, printed by Luigi Maestri, Milan. Born in Cupramontana near Ancona, Luigi Bartolini was the twentieth century Italian etcher, who came closest to the stature of his great rival, Morandi. As a teenager, he saw the collection of etchings, including work by Callot, owned by the Corradi family in Iesi. From 1907 to 1910 Bartolini studied at the Istituto di Belle Arti in Siena, and started to etch c. 1909. He moved to Rome in 1910, where until 1912 he frequented the Accademia di Belle Arti, while also attending lectures on literature and the history of art, and courses on anatomy at the University in Rome. Bartolini studied the etchings of Goya and took lessons on drawing at the Accademia di Spagna. From there, he went to Florence in 1913, where he attended the Scuola del nudo. Bartolini continued his anatomical research, as well as studying architecture, making himself the most assiduous student of all Italian twentieth century printmakers. He also visited the Uffizi and Florentine print dealers to look at the etchings of Rembrandt and Fattori. Bartolini painted his first oils just before the outbreak of the First World War. Although he painted pictures throughout the rest of his career, and was awarded the Premio Marzotto for them in 1956, they have been far eclipsed in fame by his etchings and writings. During the First World War, Bartolini published his first collection of poetry. A very prolific and accomplished writer, in this field he is best known today as the author of the novel, 'Ladri di biciclette' (Bicycle thieves), of 1946, which was quickly turned into a celebrated film by Vittorio de Sica and Cesar Zavattini. After the First World War, Bartolini held a series of minor teaching posts in Macerata, Sassari, Avezzano, Pola, and Caltagirone, while he continued to etch, and started a long career as a polemical journalist and critic of art and architecture. From 1923 to 1929, he wrote for the Naples periodical, 'Cimento', but he also contributed to 'Il Selvaggio', 'Quadrivio', 'Italia letteraria', and 'L'Ambrosiana'. Bartolini's 1924 exhibition of etchings at the Casa d'Arte Bragaglia in Rome was a great success, and later that year he showed 70 etched landscapes of the Marches at the Casa Palazzo di Roma. The following year he visited Paris, where he paid particular attention to the paintings of Van Gogh. Bartolini's political convictions led him to being assaulted by Fascists and hospitalised in 1928. Two years later, he won a prize at the Venice Biennale, where he had exhibited a portfolio of etchings. In 1930, the Turin publisher, Buratti, began to issue a series of portfolios of etchings by contemporary Italian artists under the editorship of Cipriano Oppi, selecting Bartolini for the first album. The following year, Buratti published 'Le carte parlanti', a portfolio of 10 of Bartolini's etchings, which was published in an edition of 20. In 1932, Bartolini shared the first prize at the Prima mostra dell'incisione moderna at the Uffizi with Morandi and Boccioni. His close friend, the leading anti-Fascist art historian, Lionello Venturi, acted as his agent selling his etchings in Paris. Bartolini's correspondence with his compatriots in exile led to his imprisonment, from which he was released on Mussolini's personal intervention. He was then placed under political surveillance. From 1933 to 1938, Bartolini taught in Merano, where he painted and etched in the open air, finding subjects on the banks of the fast flowing Adige. Despite being under political suspicion, he was given a one - man show of 50 etchings at the second Rome Quadriennale in 1935, when he was awarded the first prize for printmaking. Bartolini still encountered political difficulties, and his ...
réf. 12337282x201mm. 11x8". Siglo XVIII. 282 x 201mm. Carboncillo y aguada sepia-ocre sobre papel agarbanzado verjurado. Con filigrana Escudo de Pavia. Papel italiano del siglo XVIII. Inscrito: "Maella" en el anverso. unknown
1799Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della quarta edizione di dodici, stampata dalla calcografia di Madrid (circa 1870).Acquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce nel 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Plate 55: old woman prettifying herself at mirror, maid and two male servants watching; from an album of the fourth edition. 1799 Etching, burnished aquatint and drypoint.From the fourth edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia.A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 90; Delteil 92.
1799Opera tratta dai "Los Caprichos", per la prima volta pubblicati nel 1799. Prova della seconda edizione di dodici, stampata dalla calcografia di Madrid. Acquaforte, acquatinta brunita e puntasecca, in perfetto stato di conservazione. La serie chiamata Los Caprichos è composta da ottanta incisioni, la cui prima edizione [l’unica a non essere pubblicata postuma] venne alla luce nel 1799. Curata in fase d’edizione dallo stesso artista, la serie fu commercializzata e dopo poco tempo ritirata dal mercato. Infatti, a causa dei numerosi soggetti che ironizzavano sulla società spagnola di fine secolo, il Goya subì una censura. L’interpretazione dei soggetti rappresentati su queste lastre, sempre enigmatiche, è spesso controversa. Plate 56: figures falling through air, including satyr; from a bound album of the second edition impressions. 1799 Etching and burnished aquatint.From the second edition of twelve of the so-called "Los Caprichos" series, edited by the Madrid Calcografia.A very good impression, with good contrast, printed on contemporary paper, customary margins, in very good conditions. The series called Los Caprichos, consists of eighty etchings. This first edition of 1799, the only one not to be published posthumously, is imprinted on soft laid pape. Cured in phase edition by the same artist, the series was marketed and before long withdrawn from the market. In fact, because of the many subjects that mocked the Spanish society of the century, Goya suffered censorship. The interpretation of the subjects represented on these plates, always enigmatic, is often controversial. Harris 91; Delteil 93.
1913187 pages. Index. Attractive gilt advertisement upon black front board. Few black and white illustrations. Contents secured to boards by original black cord. "Covers a three-years course in Household Science." - from Preface. Above-average but not excessive overall wear. Errata page at front and memo page at back very heavily worn. Many contemporary hand-written recipes upon nine memo pages at back. Minimal markings to contents, excepting pages 114-115 upon which are handwritten contemporary prices of dozens of grocery items. A worthy copy of this wonderful and very uncommon antiquarian British Columbia household science text. Book
1875Acquaforte, 1875 circa, priva di firma. Stampata su carta cina applicata su supporto coevo. Opera non descritta dai repertori consultati. Telemaco Signorini nasce a Firenze il 18 Agosto del 1835 e, nonostante prediliga gli studi letterari, suo padre, un modesto pittore della corte del Granduca, lo avvia allo studio della pittura e fu lui il suo insegnante. Dopo aver frequentato i corsi di disegno dal nudo all'Accademia di Belle Arti fiorentina, e dopo aver dipinto dal vero con Odorado Borrani e Vincenzo Cabianca, inizia a frequentare il Caffè Michelangelo, accostandosi ai pittori che in quegli anni stavano teorizzando la pittura di macchia, ossia i Macchiaioli. Durante un viaggio a Parigi conosce personalmente l'anziano Camille Corot, interessandosi alla sua pittura di paesaggi e Constant Troyon; tornato a Firenze, con l'amico Diego Martelli, consolida l'amicizia con Silvestro Lega e Odoardo Borrani, insieme ai quali dipinge nei dintorni di Pergentina, divenendo il maggior rappresentante dei Macchiaioli. Bellissima prova, in ottimo stato di conservazione. Dimensioni 114x172 mm, il foglio 239x325 mm. Al verso timbro della collezione di Raffaele Alianello (Lugt 5K). Etching, circa 1875, unsigned. Printed on Chinese paper applied to carboard. Work not described by the repertories consulted. Telemaco Signorini was born in Florence on August 18, 1835 and, although he preferred literary studies, his father, a modest painter of the court of the Grand Duke, initiated him to the study of painting and he was his teacher. After having frequented the courses of drawing from the nude to the academy of Belle Arti fiorentina, and after having painted from the true one with Odorado Borrani and Vincenzo Cabianca, it begins to frequent the Cafe Michelangelo, approaching the painters that in those years were theorizing the painting of stain, that is the Macchiaioli. During a trip to Paris he knows personally the old Camille Corot, being interested in his painting of landscapes and Constant Troyon; returned to Florence, with the friend Diego Martelli, consolidates the friendship with Silvestro Lega and Odoardo Borrani, together with which it paints in the surroundings of Pergentina, becoming the greater representative of the Macchiaioli. Beautiful example, in excellent condition. Size: platemark, 114x172 mm; sheet 239x325 mm. On the verso collection mark of Raffaele Alianello (Lugt 5K).
réf. Z1-E-022-02541CCW Graduate School. Used - Good. Ships from UK in 48 hours or less usually same day. Your purchase helps support Sri Lankan Children's Charity 'The Rainbow Centre'. Ex-library so some stamps and wear but in good overall condition. 100% money back guarantee. We are a world class secondhand bookstore based in Hertfordshire United Kingdom and specialize in high quality textbooks across an enormous variety of subjects. We aim to provide a vast range of textbooks rare and collectible books at a great price. Our donations to The Rainbow Centre have helped provide an education and a safe haven to hundreds of children who live in appalling conditions. We provide a 100% money back guarantee and are dedicated to providing our customers with the highest standards of service in the bookselling industry. CCW Graduate School unknown
réf. DADAX0826315186Brand: Univ of New Mexico Pr 0000-00-00. 1. paperback. New. 5.75x1.25x9.25. Buy with confidence. Excellent Customer Service & Return policy. Brand: Univ of New Mexico Pr paperback
1977réf. 2080502106602637Asahishinbunsha 1977. Soft Cover. Fine. Number of books: 3 Asahishinbunsha paperback
1770Acquaforte, 1770-1780 circa. In basso a destra, nel margine, nota manoscritta “G. Gandolfi f.”. Magnifico esemplare, impresso su carta vergata coeva, sottili margini, in ottimo stato di conservazione. L'acquaforte appare anche insieme ad altre sei stampe di Gandolfi, due delle quali firmate, in un unico grande foglio; esemplari si trovano alla Pinacoteca Nazionale di Bologna e in una collezione privata. Gaetano Gandolfi è un’importante ed eclettica figura del ‘700 bolognese. Pittore e abilissimo disegnatore, si dedicò con successo anche all’attività incisoria. Come concordemente ricordano i biografi, nel disegno, sin dalla giovinezza, era solito definire progressivamente la giustezza dell'intuizione. Sono decine e decine gli schizzi, i disegni del Gandolfi nei musei o nelle collezioni private di tutto il mondo; oggetto di collezionismo sin dal Settecento sono il mezzo sicuro per conoscere lo sviluppo del suo pensiero, l'evoluzione dello stile che influenzerà, sino a metà del secolo successivo, la scuola bolognese. Etching, 1770-178 circa. Beneath the image, on the right, hadwritten note “G. Gandolfi f.” Excellent example, printed on contemporary laid paper, thin margin, in perfect condition. The etching also appears along with six other prints by Gandolfi, two of them signed, in a single large sheet; examples are in the Pinacoteca Nazionale in Bologna and in a private collection. Gaetano Gandolfi was an important and eclectic figure of 18th-century Bologna. He was a painter and a very skilful draughtsman, but also devoted himself successfully to engraving. As his biographers agree, from an early age he used to progressively define the rightness of his intuition in drawing. Dozens and dozens of Gandolfi's sketches and drawings are to be found in museums and private collections all over the world. Since the 18th century, they have been collectors' items and are a sure way of learning about the development of his thought and the evolution of the style that was to influence the Bolognese school until the middle of the following century. Donatella Biagi Maino et al, “Idea Prima”: Disegni e modelli preparatori, pittura di tocco dal ‘500 al ‘700, exhibition catalogue, Bologna, 1996, pp.112-115; De Vesme, 19. Gozzi, 10.
1901réf. ZB445353Boston Cooking School 1901-1911. volumes 6-15 bound in mid-20th century buckram with most front covers retained ex library else texts clean & bindings tight. - If you are reading this this item is actually physically in our stock and ready for shipment once ordered. We are not bookjackers. Buyer is responsible for any additional duties taxes or fees required by recipient's country. Photos available upon request. Boston Cooking School hardcover
1825réf. 1890London: Thomas McLean 1825. Good. Aquatint with engraving and handcoloring in watercolor on wove paper 8 7/8 x 10 3/4 inches 225 x 272 mm wide margins. Light handling wear and four small dots of adhesive residue at each of the four corners on the verso. Coloring is extensive and fresh. Thomas McLean unknown
1760réf. 1226London 1760. Good. Copper plate engraving with hand coloring in watercolor on cream laid paper with a large circular watermark bearing a heart and arrow along with several Roman numerals and letters including II and S 8 1/4 x 16 3/ 8 x inches 208 x 423 mmimage area margins trimmed. Color slightly attenuated with some age tone mat tone and light scattered discoloration. Paper tape repair with in-painting at top right extreme corner paper tape support along the top sheet edge. Condition issues are consistent with age. This optic view of London and the Thames shows the north bank of the river from where Somerset House now stands in the east down to London Bridge and the Tower in the west. Also visible is the dome of St. Paul's Cathedral. Published in London circa 1760 this engraving is one of a series of images that were called optical views or perspectives. They originated in the early eighteenth century as part of the thriving topographical print market in cities such as Paris and London. As monied tourists traveled Europe these views became increasingly popular as souvenirs. After a trip abroad it was common practice among the wealthy denizens of London and Paris to produce "perspectives" after a dinner party. The views were enjoyed with the aid of a device known as a zograscope while the hosts regaled their company with travel tales. unknown
réf. 9201750. Good. Gouache and ink with gold heightening on cream laid paper 9 1/8 x 5 1/4 inches 232 x 133 mm the full sheet. Some scattered light surface soiling along with age related toning and some handling creases minor edge tears and losses and scattered inscriptions. Extensive inscriptions in red and black ink on the verso. The color is exceptionally fresh rich and saturated. Mirza Nur-ud-Din Muhammad Salim 30 August 1569 - 28 October 1627 known by his imperial name Jahangir "Conqueror of the World' was the fourth Mughal Emperor who ruled from 1605 until his death in 1627. He was the third and only surviving son of Akbar and his chief empress Mariam-uz-Zamani born to them in the year 1569. He was named after the Indian Sufi saint Salim Chishti. -Singh Pashaura; Fenech Louis E. eds. 2014. The Oxford handbook of Sikh studies. Oxford University Press. p. 647. ISBN 978-0-19-969930-8. unknown
réf. 9261690. Good. Gouache and ink with gold heightening on cream laid paper 8 1/2 x 6 1/4 inches 210 x 160 mm the full sheet. Some scattered light surface soiling along with age related toning and some handling creases minor edge tears and losses and scattered insect damage and inscriptions. Extensive inscriptions in red and black ink on the verso. The color is exceptionally fresh rich and saturated. An illuminated page from a book likely in reference to palace life during Emperor Jahangir's reign over the Mughal Empire. Mirza Nur-ud-Din Muhammad Salim 30 August 1569 - 28 October 1627 known by his imperial name Jahangir "Conqueror of the World' was the fourth Mughal Emperor who ruled from 1605 until his death in 1627. He was the third and only surviving son of Akbar and his chief empress Mariam-uz-Zamani born to them in the year 1569. He was named after the Indian Sufi saint Salim Chishti. -Singh Pashaura; Fenech Louis E. eds. 2014. The Oxford handbook of Sikh studies. Oxford University Press. p. 647. ISBN 978-0-19-969930-8. unknown
1978réf. 2080302106805966Not Available 1978. Soft Cover. Fine. Size: A5 Number of books: 15 Not Available paperback
1871réf. 2437Charterhouse School 1871. Hardcover. Very good. Dates: 1871-1877 and 1910. Small 4to. 37 ff. mostly with newspaper clippings neatly pasted in on both sides 4 ff. in manuscript "Summary of Scores" from 1871-1877 and 1910. Several leaves excised; it is possible that the present album had been re-purposed. On a few of the stubs appear fragmentary MS notations suggesting that the notebook may have once been divided alphabetically. We find on certain stubs "Ai" followed immediately by "Ao" and then several leaves later: "Her. - Hes" followed by "Io." Binding rebacked with smooth calf. In very good condition. Highly interesting homemade album of Cricket Scores available nowhere else specifically documenting the triumphs of three young members of the Blomfield family namely: E.G. Edward George C.J. Charles James and R.T. Reginald Theodore. One wonders if the present album was created in order to promote friendly competition between the brothers two of whom went to Haileybury School and one went to Charterhouse; all three went up to Oxford. There are scores and game synopsis of matches were between Haileybury Charterhouse Marylebone Cricket Club MCC Westminster Trinity College Oxon. Exeter Oxon. and more. One of the more interesting features about the album is that it provides a fascinating record of one family's love of the game: ¶ Edward George 1853-1885 entered Charterhouse School London in 1865 and transfer upon the School's removal to Godalming in 1872; in 1873 he went to Trinity College Oxon. where he earned a B.A. in 1877 and M.A. in 1879; thereafter he served as Curate of St. Mary's Portsea until 1883 and then Vicar of St. Mark's Woolston until his death in London in 1885. ¶ Charles James 1855-1928 went to Haileybury School; he underwent military training at Sandhurst and served as an army officer in India Sudan and Natal. He attained the rank of Major General before his retirement in 1917. NB: this individual is not to be confused with a noted architect of the same name b. 1862 d. 1932. ¶ Reginald Theodore 1856-1942 also went to Haileybury School; he earned his B.A. from Exeter Oxon. in 1880 and M.A. in 1884. He became an architect and was knighted in 1919. He is remembered mainly for his work designing British war memorials. ¶ The parents of the three young men were Rev. George John and his first cousin Isabella Blomfield of Bow Devonshire whose own father Charles James Blomfield was Bishop of London. ¶ At the end is a "Summary of Scores" for the years 1871-1877. Following this in a different hand is the year 1910; although the initial of the last name "Blomfield" remains the same the other initials belong to Reginald Thomas and his two sons Henry George and Austin. ¶ See Stedman Charterhouse Register 1872-1900 passim. CATALOGUER'S NOTE: We are grateful to Catherine Smith Archivist of Charterhouse School for much useful information concerning the Blomfield Family. hardcover
1871réf. 2437Charterhouse School 1871. Hardcover. Very good. Dates: 1871-1877 and 1910. Small 4to. 37 ff. mostly with newspaper clippings neatly pasted in on both sides 4 ff. in manuscript "Summary of Scores" from 1871-1877 and 1910. Several leaves excised; it is possible that the present album had been re-purposed. On a few of the stubs appear fragmentary MS notations suggesting that the notebook may have once been divided alphabetically. We find on certain stubs "Ai" followed immediately by "Ao" and then several leaves later: "Her. - Hes" followed by "Io." Binding rebacked with smooth calf. In very good condition. Highly interesting homemade album of Cricket Scores available nowhere else specifically documenting the triumphs of three young members of the Blomfield family namely: E.G. Edward George C.J. Charles James and R.T. Reginald Theodore. One wonders if the present album was created in order to promote friendly competition between the brothers two of whom went to Haileybury School and one went to Charterhouse; all three went up to Oxford. There are scores and game synopsis of matches were between Haileybury Charterhouse Marylebone Cricket Club MCC Westminster Trinity College Oxon. Exeter Oxon. and more. One of the more interesting features about the album is that it provides a fascinating record of one family's love of the game: ¶ Edward George 1853-1885 entered Charterhouse School London in 1865 and transfer upon the School's removal to Godalming in 1872; in 1873 he went to Trinity College Oxon. where he earned a B.A. in 1877 and M.A. in 1879; thereafter he served as Curate of St. Mary's Portsea until 1883 and then Vicar of St. Mark's Woolston until his death in London in 1885. ¶ Charles James 1855-1928 went to Haileybury School; he underwent military training at Sandhurst and served as an army officer in India Sudan and Natal. He attained the rank of Major General before his retirement in 1917. NB: this individual is not to be confused with a noted architect of the same name b. 1862 d. 1932. ¶ Reginald Theodore 1856-1942 also went to Haileybury School; he earned his B.A. from Exeter Oxon. in 1880 and M.A. in 1884. He became an architect and was knighted in 1919. He is remembered mainly for his work designing British war memorials. ¶ The parents of the three young men were Rev. George John and his first cousin Isabella Blomfield of Bow Devonshire whose own father Charles James Blomfield was Bishop of London. ¶ At the end is a "Summary of Scores" for the years 1871-1877. Following this in a different hand is the year 1910; although the initial of the last name "Blomfield" remains the same the other initials belong to Reginald Thomas and his two sons Henry George and Austin. ¶ See Stedman Charterhouse Register 1872-1900 passim. CATALOGUER'S NOTE: We are grateful to Catherine Smith Archivist of Charterhouse School for much useful information concerning the Blomfield Family. hardcover books
réf. 76966aafCa. 1925, in-4to, Titel + 39 S. (ca. 25 Zeilen/S.), in schöner deutscher Kurrentschrift auf senkrecht liniertem Papier, Personennamen und Bühnenanweisungen sind in roter Tinte unterstrichen, dazu: das Programm für eine Aufführung der gleichnamigen Oper, guter Zustand, Besitzerstempel auf Titel: 'Walter Wyss Vikar', dunkelroter Hableineneinb. mit Ecken und goldgepr. Titel, an den Kanten leicht berieben, schönes Exemplar.
réf. 10885Paris, sans nom ; 2 tomes reliés en un volume, grand in-4 ; demi-percaline vert-sapin, plats cartonnés, papier marbré vert (reliure de lL'époque) ; 182 pp., (1) f. blanc, (4) pp. ; 175 pp. Cours manuscrit lithographié.
1750réf. 217011750 Matrice originale, cuivre gravé, titré, assorti d'un poême, XVIIIème siècle, 10,5 x 9 cm.
2007réf. 222162007 Aquarelle et encre, signée et titrée en bas à droite, cachet de l'artiste en bas à gauche, 2007, 11.5 x 25 cm (format à vue), 12 x 33.5 cm (format de la feuille), sous verre.
1910réf. 242171910 Bronze, sculpture, (1910), 23 x 30 x 10 cm., sur socle en bronze.
